Herbie Hancock’s four pre Future Shock albums in the early 80’s albums have always been very special to me personally. They may not have been massively successful commercially, but were some of his most potent jazz/funk masterpieces of his electric period. One of my favorite albums of this period was his third released from the 1981’s entitled Magic Windows. The album was by and large a heavy funk set including heavy participation from Ray Parker Jr.,who’d been working with Hancock for six years and for whom Hancock composed the song “Tonight’s The Night” for his Raydio project a year before-during which Hancock released two albums of his own in Monster and Mr.Hands.
This album was recorded at David Rubinson’s Automat studio’s in San Francisco,a studio known for it’s early embrace of automatic mixing technology as well as some of the biggest producers and musicians who recorded there. Perhaps realizing how his using synthesizers to play horn charts was influences the oncoming 80’s boogie/electro funk sound,Hancock touted this album as having no strings,brass or other orchestral elements on this album outside his electronics. Having been inspired by Talking Head’s electronic Afro-Funk explosions on their Remain In Light album,Hancock bought in Adrian Belew from their band for the his new albums finale entitled “The Twilight Clone”.
The song builds from the funky shuffle of Hancock’s drums and Paulinho da Costa’s percussion (along with a host of others) accents. Louis Johnson chimes in with one of his thickest slap bass lines before Hancock comes back in with a brittle LinnDrum beat and bubbling,mechanical and percussive synths. George Johnson joins in for chugging rhythm guitar,and all of this is accented by Hancock’s own synth bass line. Belew’s trademark “zoo guitar” sound plays the lead line with a very Arabic style melody. Shortly after the song goes up in pitch melodically,the bridge showcases a guitar/percussive breakdown between Da Costa, Johnson and Belew before fading out on it’s own main chorus.
On many levels,this is my favorite Herbie Hancock song of the 1980’s. It’s a perfect example of the electro funk process functioning strongly on the rhythm of the one. Hancock sets the pass as the drummer on this song,as well as providing his synthesizers as a percussive element in much the same way as he had on “Nobu” eight years earlier. He brings in the Arabic melodic tones of Adrian Belew’s horn-like guitar into the Afrocentric percussion Paulinho Da Costa brings to it. Of course the heavy funk element is locked down tight by the Brothers Johnson. So this song essentially acts as the total nucleus of what Hancock’s mid/late 80’s sound would be on a technological and structural level.